In a new exclusive interview on Blazing Minds I got an opportunity to ask poster artist Chris Barnes aka Brutal Posters a few questions about; his influences, unusual requests and co-writing the short film Burn.
Q. Can you tell me a little be about Brutal Posters and how it got started?
Brutal Posters (aka me!) started accidentally early in 2018 because of a short film I was involved in, Burn. Myself and Burn’s director ploughed every penny of the budget into the film’s production, then realised we needed a poster! Brilliant artist and good mate Chantal Handley had created some concept designs for us months before casting the film but we needed something to showcase the cast, so I downloaded Paint.Net for free and cobbled my very first digital poster design together!
Q. Your posters designs are extremely detailed and really bring the characters to life. What is your process for working on a new piece and how long does it take you to complete?
Cheers, Phil.
Preferably, I start each design with reference photos, which I position into a suitable composition, create line drawings, and then colour. Fairly similar to a more ‘traditional’ process, I suppose.
Each piece is different but in general they take around a week.
Q. How would you describe your style of artwork?
Basically, although my artwork is digital, I try to make my designs look like they’re not. I’m a huge fan of countless poster artists who use pencils, ink, and paint, so I try my best to replicate similar textures into my work. I’m a horror fan and 80’s kid, so a lot of my favourite styles come from that genre and era.
Q. What is the most difficult design you have been asked to create?
Designs with tons of separate elements are very tricky, so any of the floating heads/multi-character posters I’ve made recently. One that springs to mind is a Masters of the Universe design I made a few months back for Plan 9 Prints. I’m definitely OCD, so too many things to find nice places for can get pretty overwhelming!
Q. Have you had any unusual requests or been asked to work on any controversial designs which you have refused to create?
Haha! A few, mate, yeah! A couple I don’t even want to mention!
A bizarre example would be a Star Wars commission I received a few months back: Some dude wanted various poses of Jabba and Leia – fine. Fucking – er, hmm. He was Leia, fully strapped, and his wife was Jabba – DELETE!
I’m pretty open minded and weird but I ain’t staring at that shit for a week!
Now, imagine the commissions I DIDN’T want to mention!!!
Q. Who are you biggest influences when it comes to your artwork?
Man, there are tons and the list increases pretty much every week. Drew Struzan, Paul Mann, Enzo Sciotti, Steve Chorney, John Alvin, Paul Shipper, Graham Humphreys, Frank McCarthy, Jason Edmiston, Blake Armstrong… It’s endless.
But the first artist who honestly blew me away was Marc Schoenbach – looking at his work, then speaking to him and realising his old school horror style was completely modern and digital frazzled my mind, and was the main reason I kept at it in the early days. We’ve stayed in touch and he’s still somehow finding ways to spur me on. Legend.
Q. What are some of your favourite pieces which you have created?
A. Without trying to sound all Buddhist, I’m honestly eternally grateful for every design commission I’ve received and consider each one integral to being exactly where I am. I just love designing posters! That being said, there were numerous Bob Ross Happy Accidents along the way that have made me think, “Holy shit, I’ve turned a corner!”
My most popular designs are alternative posters I’ve created for mainstream films, as these are instantly recognisable and already have a place in people’s hearts. Shaun of the Dead, Masters of the Universe, Evil Dead, Jurassic Park, Uncut Gems, etc. Although, it’s always extra special when a poster for an indie film proves popular as you know it’s being appreciated purely on an artistic level rather than one of nostalgia, with these productions not being so well known.
Q. In addition to your artwork you also co-wrote the short film ‘Burn’ which is based on your original story. What inspired you to write the script for Burn?
Burn was the very first time I’d ever even considered doing anything like this and it only came about through already being in contact with director Judson Vaughan, who’s now one of my closest mates.
I’d had a story rattling around my head for months and decided to try and put a script together (how hard can it be, right? WRONG!) and it was Jud who encouraged me along the way and showed an interest in actually directing it.
So, I finished the first draft and we went from there – re-drafting, altering, tidying, until it was something filmable.
Q. Did you enjoy the process, and would you consider writing another film?
I enjoyed the process a lot. Until I didn’t! Ha ha! Nah, it was great and surprising and fulfilling and trippy and a privilege…and fucking stressful and expensive and did I mention stressful?
Honestly, after it was all shiny and finished and I tentatively left my padded safe space, I had a whole new respect for anybody who even attempts to make a film – no matter how small. You’ve got to be a special kind of mad.
I’ve had another script ‘finished’ for ages now but simply do not have the balls or mental strength to do anything with it!
Also, Burn continues to be accepted into festivals across the planet and win awards, which is amazing!
I might see how I’m feeling mentally and financially once its fest run ends.
Q. With your artwork you have full control of how the final poster looks, whereas with Burn, the creative control is with the director and his team. How close was the final film to your original vision?
To be fair to Jud, we probably couldn’t have worked any more closely than we did. He ran pretty much everything passed me and we were on the same page throughout. As I say, we’re now good mates, so that probably tells you all you need to know about our working relationship.
Plus, I Exec Produced the film, so I would’ve just fired his sorry ass!
The main change to my overall vision was the setting – I originally set it all in a working class town, but Jud mentioned he had been offered this huge, sprawling manor to film in, so we changed the characters and story accordingly.
Q. Is Burn available to view online?
It’s not freely available online just yet with it still being on its festival run but if anyone wants to review it they can give me a shout and I’ll link ‘em up.
Q. Do you have anything else which you are working on?
I’m lucky enough to have had a constant stream of work in, considering what’s happening across the world at the moment. Mainly indie productions, with more mainstream personal projects in between, and hopefully some more Blu-ray/VHS cover designs in the very near future.
Nothing weirdly sexual from a galaxy far, far away.
Q. What advice would you give to aspiring artist who may want to get into poster designs themselves?
Do it! I started on free software, then took the Photoshop plunge once I realised how amaze-balls poster designing was. Watch tutorials on YouTube. Ask other poster designers (I’m happy to help out where I can). Ignore any negativity. Fuck about and try things. Enjoy the process. Don’t compare yourself to anyone else. Then when you’re amazing, help me.
You can find out more about Brutal Posters on the website https://brutalposters.myportfolio.com/ and the following social media Twitter – Instagram
Published in various websites, Philip is a reviewer who is best known for his interviews and media coverage of independent projects including; films, books, theatre and live events. Always on the lookout for something different to cover!
